上海．1947．張愛玲電影緣起－兼談《不了情》、《太太萬歲》劇本的人生參照

Shanghai．1947．Eileen Chang's Origins of Cinematography-＂Unending Love＂, ＂Long Live My Wife＂, Chang's Slice of Life on Stage

蘇偉貞(Wei-Chen Su)

《中外文學》 37卷2期 (2008/06) Pp. 139-181

https://doi.org/10.6637/CWLQ.2008.37(2).139-181

摘要

張愛玲的電影編劇生涯發端於上海，探究其編劇事業版圖，清楚畫分出上海時期及香港時期。上海電影緣起，關係著她日後創作生命，說來她的編劇生涯急管繁弦瞬間達於鼎盛卻旋及收梢，都集中於一九四七年，何以遽爾起落？她的人生遭遇是否表述於劇作中？小說轉向劇本動機與時機為何？劇作的視覺性、風格、藝術表現之於時代的影響？本論文將以這一連串提問出發，比對張愛玲劇本／影片／小說文本，展開初步的理論思考與觀察，結合文學／電影學理論，及運用電影長鏡頭的場景調動手法，繪製一張「映像張愛玲」認知地圖的輪廓，以期完整定位張愛玲。

關鍵字

張愛玲 ； 上海 ； 電影劇本 ； 視覺性 ； 長鏡頭 ； 認知地圖

並列摘要

Eileen Chang's career as a screenplay writer began in Shanghai in 1947. Her screenplay writing falls into two separate phases: the Shanghai period and the Hong Kong period. The origins of Shanghai cinematography affected Chang's entire subsequent writing career, and yet her own best output in this field was confined to the single year of 1947. Why did it come to such a sudden halt? In what ways did her personal life experiences find expression in her screenplay writing? What prompted or motivated her to make the move away from novel writing toward screenplay work? And, what were the main contemporary influences on her visuality style as a playwright and her means of artistic expression? This paper will take these questions as its point of departure, with Eileen Chang's screenplays/film/novels as the basic textual material, combination of literary theory and cinematic theory and use techniques, such as film long take method, to bear on a series of cognitive maps for ＂Imaging Eileen Chang,＂ and a substantial step forward in our overall understanding of Eileen Chang's literary history and achievements.

並列關鍵字

Eileen Chang ； Shanghai ； screenplay ； visuality ； long take ； cognitive maps

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